And the way that the proxies are made, which I will show you now, Matt, how to set up the proxy generator to use H.264 instead of progress, you can use whatever workflow fits you best just to save space, because we knew that we were going to have plenty of shoot days and plenty of terabytes to chew through.

H.264 was the best option you can do 1080s, which are totally fine.

You can also do half rows 1080 or whatever you want to do to save space on your drives.

Resolve can handle it.

We had six cameras plus a line code going in a multi cam in resolve doing all H.264 as long as your computer was built in the last like three or four years, you're going to be totally fine doing big multi cams like that with introduce exports.

When you're creating proxies through the generator, do you have to set all your like sort of specifications in resolve first or you can do it all in the generator?

Yeah, the proxy generator just has those different flavors.

It's kind of meant for, you know, speed because it can kind of run in the background and it doesn't tie up your Resolve if you do have like a really specific flavor, and wanted you to access your proxy, then you would run those proxies through results of if you had multiple computers and they were all looking at the same network attached storage, you could set up the Blackmagic proxy generator on all those computers and pointing to the same watch folder and they basically auto negotiate.

So it's kind of like a render farm at our render farm.

Once you drop all of your rogue media in and you create the proxies, it'll create a proxy folder right where the raw media lives.

This is the best workflow to ensure that the Cloud Store has a direct line of sight to the proxy media.

You are able to move the proxy media when you initially tell it to create to wherever you would like.

However, the workflow is best if you keep it exactly where the cameras are.